Datasets:
Shuaimyself
/
data

Dataset card Data Studio Files
xet
 Community
1
text
stringlengths
0
3.13k
The Crossbowman (1551). Pinacoteca Capitolina, Rome
Portrait of an Old man (c. 1552, ascribed). Hermitage Museum, Saint Petersburg.
Presentation in the Temple (1552–1556). Palazzo Apostolico, Loreto
Selfportrait (?). Thyssen-Bornemisza Museum, Madrid.
See also
Lotto carpet, a lacy patterned Turkish carpet named for him.
References
Sources
Benezit E. Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs; Librairie Gründ, Paris, 1976; ISBN 2-7000-0156-7 (in French)
Turner J. Grove Dictionary of Art; MacMIlllan Publishers Ltd, 1990; ISBN 1-884446-00-0
Ricketts Melissa - Maestros del Renacimiento (in Dutch Translation : Grote meesters uit de Renaissance; Rebo International BV, 2005 ISBN 90-5841-089-7)
Benesch, Otto (December 1957). "New Contributions to Lorenzo Lotto". Burlington Magazine. 99 (657): 410–413.
Berenson, Bernard - Lorenzo Lotto; The Phaidon Press
Kaap, Henry - Lorenzo Lotto malt Andrea Odoni: Kunstschaffen und Kunstsammeln zwischen Bildverehrung, Bildskepsis, Bildwitz, Berlin, Gebr. Mann Verlag 2021. ISBN 978-3-7861-2865-6
Lorenzo Lotto: Rediscovered Master of the Renaissance, by David Alan Brown, Peter Humfrey, and Mauro Lucco, with contributions by Augusto Gentili et al. Washington, D.C.: Catalogue of the exhibition in the National Gallery of Art; New Haven: Yale University Press, 1997.
Humfrey, Peter - Lorenzo Lotto; New Haven, Yale University Press, 1997; ISBN 0-300-06905-7 (the first full-length study of Lorenzo Lotto since the monograph of Bernard Berenson)
Zanchi, Mauro - Lotto. I simboli, Giunti, Firenze 2011. ISBN 88-09-76478-1
External links
Lotto's paintings in various museums of the world
Lorenzo Lotto: rediscovered master of the Renaissance
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Lotto (see index)
Lorenzo Monaco (c.1370 – c.1425) was an Italian painter and miniaturist of the late Gothic to early Renaissance age. He was born Piero di Giovanni. Little is known about his youth, apart from the fact that he was apprenticed in Florence. He has been considered the last important exponent of the Giotto style, before the Renaissance revolution that came with Fra Angelico and Masaccio.
Life
He was probably born in Florence and not in Siena, as it was believed until recently. Nothing is known of his early years, but he was certainly trained in painting in Florence. Formed in the same tradition as Giotto, he was influenced not only by him but also by that artist's followers Spinello Aretino and Agnolo Gaddi. He later worked with Gaddi in painting the predella of the altarpiece in the Nobili Chapel in Santa Maria degli Angeli.
In 1390 he entered the Camaldolese monastery of Santa Maria degli Angeli, as a novice, where he took his vows in 1391. Here he worked for a long time as an illuminator in the scriptorium and as a panel painter, consecrating himself at the time as the greatest painter of sacred subjects in Florence. The three chorales in the Laurentian Library date back to the last decade of the 14th century, and where executed for his own Camaldolese monastery, already perceive a personal style, characterized by taut linearism and a cold chromatic range.
Starting from around 1404, his style shows the influence of the International Gothic, influenced by the first works of Lorenzo Ghiberti and of Gherardo Starnina, who had returned in those years from Spain. From that year, stands out The Pietà in the Galleria dell'Accademia of Florence, a work dominated by a nervous line and a certain emotional tension. In the numerous paintings with a gold background, he created a style characterized by extremely elongated figures, with the sinuous lines of the crescent-shaped drapery, sharp edges, the bright and rich colors (profusion of gold and lapis lazuli), the hinted gestures, and an almost annulled space. His works, in general, showed images with a strong spiritual value, detached from reality, where the profane and naturalistic elements are usually almost completely absent.
From this period, among others, can be mentioned the Tabernacle with the Madonna, Child and Saints, at the Pinacoteca di Siena, and the beautiful Oration in the Garden of the Galleria dell'Accademia, in Florence. The sumptuous Coronation of the Virgin of the National Gallery, in London, one of his most famous works dates to 1407-1409. The Polyptych of Monteoliveto, in the Galleria dell'Accademia is slightly later, and it is imbued with a spirituality that even preludes Fra Angelico. In the same museum is the Triptych of San Procolo where are already notice the wavy rhythms, like the arabesques of an illuminated codex, which appear again in the Coronation of the Virgin (now at the Uffizi), composed with a great number of saints of sinuous shapes, and with brilliant colors that reach their peak in the blinding white of the Virgin's dress and in the ultramarine blue of Christ's mantle, seemingly in an authentic irradiation of divine light.
The numerous commissions that he took, led him to request several times dispensations to leave the monastery, which were regularly granted by his superiors, but Lorenzo never forgot his monastic status.
In the last phase of his production, he didn't follow the innovations of his contemporaries Masaccio and Filippo Brunelleschi. Although he knew how to update his style with some innovations, especially concerning a more realistic representation of space, he always remained faithful to his personal style, without radical changes. A typical work of this time is the Adoration of the Magi of 1420–1422, where the foreshortenings seem markedly incoherent and surreal precisely because the now widespread geometrical perspective is totally absent. However, the pictorial quality remains very high, with an original use of the contour line, which creates one of the most imaginative results of all Florentine painting.
Lorenzo's works remained popular in the 1420s, as testified by the numerous commissions he received, such as the Stories of the Virgin in the Bartolini Salimbeni Chapel of Santa Trinita, one of his few frescoes.
Giorgio Vasari, who included his biography in his Lives, states that he died at the age of fifty-five, from a unidentified infection, perhaps an infected pustule, gangrene or a tumor, which had forced him to bed for many months. He was buried in the chapter house of the monastery, a privilege usually reserved only for high religious offices and famous personalities, further proof of the great esteem in which he was held in his lifetime.
His production was also very vast in miniature, where he achieved results of great value both at a creative and at a formal level. He also composed musical chants. Many manuscripts illuminated by him are kept in the Biblioteca Medicea Laurenziana.
Selected works
His works include:
Coronation of the Virgin (1388–1390), Courtauld Gallery, London
Madonna and Child with Saints (1395–1402)
Episodes in the Life of Saint Benedict (c. 1407–1409)
Nativity (1409), a panel believed to form part of a predella
Coronation of the Virgin (1414), also for Santa Maria degli Angeli
Annunciation Triptych (1410–1415), Galleria dell'Accademia, Florence
Bartolini Salimbeni Chapel (1410–1415), Santa Trinita, Florence
Adoration of the Magi (1422), Uffizi, Florence
Beheading of St Paul, Princeton University Art Museum
Processional Cross, Chicago Art Institute
Crucifixion of St Peter, Walters Art Museum, Baltimore
Madonna and Child, National Gallery, Washington, D.C.
Madonna of Humility, Treasure Museum of the Basilica of Saint Francis, Assisi
Virgin and Child, Scottish National Gallery, Edinburgh
Paintings
See also
Sienese School
References
Further reading
Pope-Hennessy, John & Kanter, Laurence B. (1987). The Robert Lehman Collection I, Italian Paintings. New York, Princeton: The Metropolitan Museum of Art in association with Princeton University Press. ISBN 0870994794.{{cite book}}: CS1 maint: multiple names: authors list (link) (see index; plates 71-72)
External links
National Gallery of Art
Biography and works (in Italian)
Italian Paintings: Florentine School, a Metropolitan Museum of Art collection catalog containing information about Lorenzo Monaco and his works (see pages 62–68).
Ludovico Dorigny (1654 – 17 October 1742) was a French painter and engraver. Trained in his native country, he spent most of his life and career in Verona, Italy.
Life and career
Born Louis Dorigny into a family of Parisian artists, Dorigny was the grandson of painter Simon Vouet and the son of engraver Michel Dorigny. As a boy he apprenticed with the painter Charles Le Brun and in his teens was commissioned to create works for Cardinal Richelieu and Louis XIV of France. He adopted the italianized version of his name, Ludovico, during his early years in Italy and it is by that name that he is chiefly known.
In 1671, at the age of 17, Dorigny came to Italy to study the Italian masters. He traveled back and forth between France and Italy over the next seven years, ultimately settling in Venice in 1678. He spent the next decade in that city where his works were in high demand by the nobility. In that city he also contributed works to the Chiesa degli Scalzi, painted the ceiling of the San Silvestro, and contributed decorations to the Palazzo Museli.
In 1688 Dorigny moved to Verona, where he remained until his death 54 years later. He visited his family in Paris in 1704 and in 1711 traveled to Vienna, where he decorated the Winter Palace of Prince Eugene of Savoy. He also contributed works to the Udine Cathedral and the Trento Cathedral.
He died at Venice in 1742.
== References ==
Louis-Léopold Boilly (French pronunciation: [lwi leɔpɔl(d) bwɑji] ; 5 July 1761 – 4 January 1845) was a French painter and draftsman. A creator of popular portrait paintings, he also produced a vast number of genre paintings documenting French middle-class social life. His life and work spanned the eras of monarchical France, the French Revolution, the Napoleonic Empire, the Bourbon Restoration and the July Monarchy. His 1800 painting Un Trompe-l'œil introduced the term trompe-l'œil ("trick the eye"), applied to the technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions, though the "unnamed" technique itself had existed in Greek and Roman times.
Life and career
Boilly was born in La Bassée in northern France, the son of a local wood sculptor. A self-taught painter, Boilly began his career at a very young age, producing his first works at the age of twelve or thirteen. In 1774 he began to show his work to the Augustinians of Douai who were evidently impressed: within three years, the bishop of Arras invited him to work and study in his diocese. While there, he produced a cascade of paintings – some three hundred small works of portraiture. He received instruction in trompe-l'œil painting from Dominique Doncre (1743–1820) before moving to Paris around 1787.
At the height of the revolutionary Terror in 1794, Boilly was condemned by the Committee of Public Safety for the erotic undertones of his work. This offence was remedied by Boilly's eleventh-hour production of the more patriotic Triumph of Marat (now in the Musée des Beaux Arts, Lille) which saved him from serious penalties.
Boilly was a popular and celebrated painter of his time. He was among the first artists to produce lithographs, and became wealthy from the sale of his prints and paintings. He was awarded a medal by the Parisian Salon in 1804 for his work The Arrival of a Mail-coach in the Courtyard of the Messageries. In 1833 he was decorated as a chevalier of the nation's highest order, the Légion d'honneur.
Boilly died in Paris on 4 January 1845. His youngest son, Alphonse Boilly (1801–1867), was a professional engraver who apprenticed in New York with Asher Brown Durand.